Modern Japanese Literature

This volume contributes to an emerging field of German Asian studies by bringing together cutting-edge scholarship from international scholars in a variety of fields. The chapters survey the history of German-Japanese relations from 1860 to 2000, examining many facets of their dynamic, ever-evolving relationship. While the focus is on transnational encounters between Germany and Japan, the volume also acknowledges in some instances the usefulness of comparative studies. Moreover, by rejecting traditional dichotomies between the East and the West, the chapters gathered here highlight the rather intimate ways in which Germans and Japanese cooperated and negotiated the challenges of modernity in a range of topics that include culture, diplomacy, geography, history, law, literature, philosophy, politics, and sports.
The book actually appeared on Dec. 15, 2015.

「心でどこを探してみても、自分より、愛しい者を見いだすことはできない。
　それと同じく、他の者にとっても、自分のことが愛しい。
　ゆえに、自己を愛する者は、他の者を害さぬように」（マッリカー経）

■ 他人のことを無理やり思いやろうとする必要はありません。ただ正直に自分の心を見つめ、「自分は傷つけられたくない。害されたくない。自分が愛しい」と確認します。さらに、「他人も同じだ。他人にとっても自己が愛しい。だから傷つけてはならない。害してはならない」と、丁寧に理解するだけでよいのです。
このように理解することで、自己を想う「自己愛」から、他者を想う「他者への慈しみ」へと、自然に広がっていくのです。
（本文より）

■ 目　次

はじめに　だらしない自分が嫌い

第１章 「自己を大切にする」とは？
・マリッカー経
　１．自己愛を否定しない
　２．視点を転じて、他人に思いを向ける
　３．自己を想う「自己愛」から、他者を想う「他者への慈しみ」へ

第２章　「自己への慈しみ」を育てる５つのステップ
・自分を思いやる
・怒りではなく、やさしさを選択する
・比べない
・心を前向きに
・定期的に瞑想する

第３章　自分を相手の立場に置き換える
・わが身にひきあてて

第４章　我（attā）から無我（anattā）へ
・「私（attā）」を使って心を育てる
・だれが実践するのか？
・輪廻の苦しみを感じてみる
・なんとかしなければ！
・なぜ、「無我」なのか？
・「我」からスタートして「無我」へ

第５章　自己をよりどころに
・心を育てる３つの詩句
　気づいたときから実践をスタート
　自分を守ってくれるもの
　自分の目的をあきらめない　

第６章　自己改善のための「私（attā）」
・自分をいたわり、他者をいたわる
・心の改革へ

あとがき　心のベクトルの転換

Mallikā Sutta 「マッリカー経」


■ 著者紹介
チャンディマ・ガンゴダウィラ長老　Ven. Dr. Chandima Gangodawila

テーラワーダ仏教長老。
2008年、スリランカの国立スリジャヤワルダナプラ大学で、学士号（優等学位）を取得。最優秀賞受賞。2015年、博士号を取得。
カナダに渡り、ブリティッシュコロンビア大学で４年間、仏教チャプレンを務め、さらにヴィクトリア大学にて教鞭を執る。
現在、カナダのオタワにあるテーラワーダ・ブッディスト・ヴィハーラに在住。
カナダを中心に、イギリスのケンブリッジ大学、アメリカ、マレーシア、タイ、スリランカの大学や寺院で、講演や法話をおこなう。
著書に、『感情の波にのまれない心のトレーニング: ストレスから心を解き放つ』『幸せへの鍵：慈経（Metta Sutta）に学ぶ〈15の善習慣〉と〈10の善行為〉』『妄想の対処法―認識プロセスを観察し、妄想ループを絶ち切る：蜜丸経（Madhupiṇḍika Sutta）』『新しい生き方を切り拓く７つの実践：小業分別経（Cūlakammavibhaṅga Sutta）』『業（カルマ）は直線ではない－生き方を変えられるのは、いま：大業分別経（Mahākammavibhaṅga Sutta）』『涅槃への道を妨げるもの: 老いない経（Na Jīrati Sutta）』『新型コロナウイルスへの不安と恐れを乗り越える８つのポイント』, シンハラ語の著書に『රතන සූත්‍රයේ පදගතාර්ථ සහ විවරණ , Ratana Sutta：Text, Word-to-word Meaning, Translation, and Explanations, 英語の著書に『Papañca to Nippapañca：Mental Proliferation to Mental Non-Proliferation』『8 Buddhist Tips to Overcome COVID-19 Fear』(以上 Sukhī Hotu), 『An Annotated Translation Into English Of Ratnamālāvadāna With A Critical Introduction』『A Critical appraisal of the contribution of Germany and France to Sanskrit studies』などがある。
ブログ：Paṭisota (https://patisota.blogspot.com/)
法話(英語)：Paṭisota YouTube Channel (https://www.youtube.com/Patisota/)


■ 訳　者
出村 佳子　Yoshiko Demura

翻訳家。訳書に、チャンディマ・ガンゴダウィラ長老著『感情の波にのまれない心のトレーニング: ストレスから心を解き放つ』『幸せへの鍵：慈経に学ぶ〈15の善習慣〉と〈10の善行為〉』『妄想の対処法―認識プロセスを観察し、妄想ループを絶ち切る：蜜丸経』『新しい生き方を切り拓く７つの実践：小業分別経』『業（カルマ）は直線ではない―生き方を変えられるのは、いま：大業分別経』『涅槃への道を妨げるもの: 老いない経』『新型コロナウイルスへの不安と恐れを乗り越える８つのポイント』（以上 Sukhī Hotu）, バンテ・Ｈ・グナラタナ著『慈悲の瞑想：慈しみの心』（春秋社）, 『マインドフルネス：気づきの瞑想』『マインドフルネスを越えて』『８マインドフル・ステップス』、アチャン・チャー著『アチャン・チャー法話集　第一巻　戒律』『アチャン・チャー法話集　第二巻　マインドフルネスの原点』『アチャン・チャー法話集　第三巻　智慧への道』, エリーン・スネル著『親と子どものためのマインドフルネス』（以上サンガ）などがある。
ブログ：Sukhī Hotu 智慧と慈悲の実践 (https://sukhi-hotu.blogspot.com/)

VISIT AMAZON TO PURCHASE A COPY
https://www.amazon.co.jp/dp/B08KP1937J/

Transoceanic passage brought nearly 189,000 immigrants from Japan to Brazil between 1908 and 1941. They were often geographically isolated in Japanese “colonies” as coffee plantation workers and thus able to maintain their Japanese linguistic and cultural identity. A new imagined community coalesced in the several Japanese-language immigrant newspapers that also published locally produced serial fiction. This paper reads two representative works by Sugi Takeo, pen name of Takei Makoto (1909-2011), who was a prolific contributor of original content to the Burajiru Jihô newspaper. In the short stories, “Kafé-en o uru” (Selling the coffee plantation, 1933) and “Tera Roshya” (Terra rossa, 1937), it is the moonshine sellers who see steady profits from every race and type of immigrant laborer while the Japanese newcomers who naively dream of riches by bringing coffee to market reap only a bitter brew of poverty for their efforts.

Many researchers have considered the involvement of Kawabata Yasunari in cinema and the medium's possible influence on his literature. Such approaches, however, tend to assume a definition of the motion pictures as visuality or montage that then influences Kawabata instead of first considering Kawabata's own conception of cinema, his own film theory. By analyzing his writings on film, including his film criticism, short stories involving cinema, and his involvement in the film A Page of Madness, this paper outlines Kawabata's conception of cinema and argues that he developed a portrait of cinema that posed it as a challenge to identity, perception and knowledge itself. Often associated with the female body, the movies became to Kawabata both an object of fascination and a threat, something ultimately to be controlled through literature and the literary subject. What influenced his literature was then perhaps this perception of cinema as posing an epistemic crisis. It is his ambivalence towards this challenge that can serve as a key for elaborating on Kawabata's complicated location within prewar modernism. The publisher Taylor and Francis allows me to post a copy of my own article on my university repository. You can download a copy of the article there:

Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/440/title/1.

A travers l’exemple de ce récit, Edogawa Ranpo montre par les atermoiements de son narrateur, auteur de romans policiers, l’impossibilité générique d’obtenir une vision objective d’une situation narrative dans une fiction, et plus généralement, dans le cadre d’un discours. En effet, tout discours dépend lui-même d’un autre discours, empêchant de fait le récepteur (le lecteur) d’avoir une approche non médiate d’un fait.

This paper sought to reveal insights into how Haruki Murakami's After Dark is reflective of the isolation currently being experienced by Japanese society today. The writer analyzed and consolidated the author's writing style and explored the prominence of the theme of isolation on the novel's protagonist. This was achieved using a formalist approach to the story, sticking only to what the text has to offer and give evidence for. The paper found that the expression of a society's culture can be seen in how they depict themselves for others to read and understand them, especially in analyzing the character of Mari.

The career of novelist Haruki Murakami has conventionally been divided into two periods: detachment and commitment. Murakami's transition to commitment, in the sense of a social engagement with a defined political sensibility, is generally seen to begin with the novel The Wind-Up Bird Chronicle [1995]. However, the so-called Rat Trilogy (Hear the Wind Sing [1979], Pinball, 1973 [1980] and A Wild Sheep Chase [1982]) sees Murakami address the concept of shutaisei—the question of individual agency and subjectivity at the centre of Japan's student activist movement in the late 1960s. Examining the trilogy's central characters through the lens of shutaisei, I argue that a commitment to political and historical awareness can already be found in Murakami's early works.

シポス・ジョージ 宮本百合子とその「転向」 １８９９年東京の知識人の家族に生まれた宮本百合子は彼女が属していた 階級から判断すればプロレタリア文学運動に参加していたとは想像しにくいかも しれません。勿論、プロレタリア文学運動は世界の中でどこでも労働階級から出 た作家たちばかりだというわけではありませんが、宮本のケースは特に珍しいと 言えます。宮本の文学活動をよく考察すれば二つの時代に分けられることが分か ります。その二つは１９２６年までのソビエト・ロシアに行く前の時代(いわゆ るプロレタリア文学者になる前)、もう一つは１９３０年の後のプロレタリア文 学者になった後の時代です。この論文では政治活動にあまり関心がなかった宮本 百合子がどうして共産主義者の作家になったかという過程を考察しようと思いま す。 宮本百合子はソ連への滞在をきっかけに１９３１年に秘密的に共産党員に なりましたが表向きにはプロレタリア文学運動のメンバーとして活躍しました。 百合子の夫の宮本顕示の『宮本百合子の世界』 1 という本によると彼女の ソビエト時代の変化の理由は三つあったそうです。一番目はソビエト・ロシアに おいて女性の生活と社会での役割が非常に尊重されていたことで、二番目は宮本 に精神的に非常に影響があった１９２８年の弟の自殺と日本社会は将来がないと 1 宮本賢治、『宮本百合子の世界』、新日本出版社、東京、１９６３

Цель Ясунари Кавабаты не в том, что бы усложнить японское искусство, а в том, чтобы опровергнуть мифы, связанные с японской культурой. Ведь европейский тип мировоззрения не предполагает подобную интеллектуальную скупость в изречениях, да и какой европеец назовет это стихами? Но всё же – это стихи - смысл японской ментальности, это Дзэн и многозначительный японский минимализм.

The two postmodern novels "Hard-boiled Wonderland and the End of the World" by Haruki Murakami and "Asleep" by Banana Yoshimoto both engage with the concept of 'memory' as a central theme of their respective narratives. Murakami explores memory as something connective but nearing obsolescence as reality wanes, while Yoshimoto uses it to highlight how it can connect people positively across realms and pull them closer or further from reality.

In Matsuura Rieko’s Oyayubi P no shugyō jidai (親指 P の修業時代, “My Big Toe P’s Training Period”), sexuality and gender are presented as a nebulous undercurrent that drives a story based on the absurd concept of a big toe spontaneously becoming a penis. While trends in the art world are inevitable, and artists who use human language can never fully disengage from an oppressive cultural ideology no matter how much they may wish to, Oyayubi is an example of a work which is simultaneously able to depict sexual and gender minorities in a surrealist manner which exposes the flaws in the dominant perception of them, and do so in a way which is palatable to the average, non-academic audience. This paper will show the various ways in which Matsuura succeeds, and fails, to expose the societal truths behind the experience of being a sexual or gender minority, and why this work is no less relevant today than when it was written in the early 1990s.

Resumen
Este artículo tiene como objetivo examinar de forma sucinta la historia de la literatura femenina japonesa desde el periodo clásico, conocido como era Heian (794–1185), hasta el periodo Moderno, cuyo final aproximado se da en la era Taishō (1912–1926). La literatura del periodo Heian de la cual se conservan, mayormente textos escritos por mujeres, constituirá un pilar fundamental para la construcción de la idea de nación en el Japón de finales del siglo XIX. Establecidos como “clásicos”, estos textos legitimarán la importancia de la escritura femenina del momento; que el canon masculino intentará desvincular de la literatura popular.


Abstract
This article aims to briefly examine the history of the Japanese women literature from its beginnings, known as the Heian era (794–1185), to the Modern period, whose approximate ends is in the Taishō era (1912–1926). The literature of the Heian period, of which they are preserved mostly texts are written by women, will constitute a fundamental pillar for the construction of the idea of nation in late XIX century Japan. Established as “classics”, these texts would legitimate the importance of women writing of the moment; that the male canon would try to dissociate from popular literature.

The manner in which manga can reflect and influence readers’ gender perceptions has been a frequently researched issue. This article is an attempt to consider those questions through language, a traditionally less-examined element, in order to shed new light on how male and female characters are used in manga. To do so, I use a linguistic corpus of ten popular shōjo-manga and shōnen-manga to look at (1) how much of the text found in speech bubbles was spoken by male and female characters; and (2) how many characters were seen. With regards to approximately 80% of all text, the corpus shows that shōnen-manga are extremely skewed towards male characters, compared to shōjo-manga, which is more balanced between female and male characters. While many more characters appear in shōnen-manga, the majority are male. Furthermore, only two female characters in all of the shōnen-manga series account for more than 10% of text, whereas all the shōjo-manga have male characters accounting for over 12%.
In examining why this might be, I suggest that the focus on interpersonal relationships – including both friendship and romance – in shōjo-manga may lead to a smaller cast of characters and better balance between male and female characters. However, with authors usually writing for their own gender, I also maintain that it is related to differences in the roles of women and men in Japanese society. These distributions also have an impact on characterization itself, particularly in regards to the use of gendered speech patterns. With insight from Kinsui’s yakuwari-go, or role-playing language (2003), I specifically argue that the results predict that shōnen-manga will use more stereotypical speech, particularly in depicting female characters. In offering supporting evidence for this hypothesis, I suggest that this may affect how readers engage with the characters, thus creating different types of reading experiences within the genres. Through this discussion, it will become clear that linguistic data can shed light into how characters are manipulated in manga on a variety of levels, thus appealing to its potential as a legitimate and unique approach to manga research.

Keywords: manga, language, gender, characters, corpus linguistics

This paper started as a presentation for the Science Council of Japan (SCJ/日本学術会議) in July 2020, and was revised for this short article in Japanese, accompanied by a one-page English overview of the project,. This article will be public and A.available on J-STAGE in four months' time.

While frequent earthquakes, tsunami and fires have been the subject of a long history of disaster literature in Japan, Kimura Saeko argues that the nature of the 3-11 nuclear disaster gave rise to a genre of literature focusing on the voices of the dead. She supports this argument by reading several key works on the subject of 3-11 through a lens of Derrida's theory of hauntology. In this paper, I further focus the argument on the relationship between the voices of the dead and their bodies, examining the way in which Itō Seikō's Sōzō Radio presents a theory of reality in which human beings are inhabited by two distinct souls: a spiritual soul and a corporeal one. By doing so, Itō attempts to tackle the mountainous task of how to cope with a reality suddenly forced to be shared with innumerable ghosts. Moreover, I argue that two distinct features of the 3-11 disaster-the combination of living in an age of mass communication and the physical limitations of efforts to recover from radiation exposure-compel us to cope not only with the loss of human life, but also with the overwhelming presence of former humans, reduced to their composite parts under the eyes of the world. In giving a voice to bodies, who still share the shape of what we lost, Itō suggests that the nature of human psychology requires living alongside ghosts, whose presence may be no more than imaginary, but no less real than the memory of the living who were.

In 1972, four anthologies of post-war Japanese poetry were brought out by British publishers: Thomas Fitzsimmons’s Japanese Poetry Now; Graeme Wilson and Atsumi Ikuko’s Three Contemporary Japanese Poets; Geoffrey Bownas and Mishima Yukio’s New Writing in Japan; and Kajima Shōzō, Lynn Guest and Harry Guest’s Post-War Japanese Poetry. This unprecedented interest in modern Japanese poetry formed part of what Ted Hughes called the ‘unique tidal wave’ of poetry translation in the 1960s and early 1970s. This spate of modern Japanese poetry translations resulted from the practice of British poets teaching in Japanese universities, from the increased post-war interest in modern Japanese art and literature, and the earlier importance of Japanese poetry for Anglo-American modernism, and Imagism in particular.

The tenets of the Imagists became widely influential after the war and informed the poetics of Penguin’s Poetry Editor, Nikos Stangos. In private correspondence he asked Harry Guest, co-editor of Post-War Japanese Poetry, to make the Japanese poems ‘into something more imagist’; he accompanied this request with an eight-page letter of suggested corrections to Guest’s submitted manuscript. Many of these suggestions sought to change the translations to accord with Imagist principles so that the Japanese poems would ‘more closely resemble contemporary English poetry’. Modern Japanese poetry had, however, evolved in a different direction, taking particular inspiration from French Symbolist, Dadaist and Surrealist poetry that did not usually employ the visual concretion Imagism demanded. An examination of Post-War Japanese Poetry not only reveals the prevalence of Imagist poetics in British poetry of this period; it presents a special case, as such a poetics had itself developed from an earlier encounter with Japanese poetry.

This thesis examines how, and to what extent, British cultural institutions, translators, publishers and readers were receptive to post-war Japanese poetry. It thus challenges the frequently held view at the time that British poetry was parochial. Post-War Japanese Poetry forms the focus of this thesis because it was brought out by a major global literary publisher; furthermore, Stangos and Guest’s discussions about how to translate the poems go to the heart of many vital questions concerning poetry translation. The thesis is structured around four different kinds of receptivity: the conditions that gave rise to the translations; the selection of poems; their translation; and the anthology’s reception. It seeks to make an intervention not only in the Anglophone understanding of post-war Japanese poetry, but also in the fields of translation studies and post-war British poetry. It explores a unique period when many of Britain’s most well-known poets lived in Japan and translated contemporary Japanese poetry for its largest literary publishers.

Adapted from the 1966 novel by the Japanese Catholic writer Shusaku Endo, Martin Scorsese’s "Silence" offers a timely occasion for expanding the critical discourse on adaptive fidelity. This article explores the ways that both texts draw from historical and scriptural sources within the Christian tradition—most notably the biblical tale of Judas—to clarify the meaning of faith in their respective contexts. Employing Andre Bazin’s theory of adaptation, I argue that alongside their source texts, both novel and film compose an intertextual "ideal construct" of religious fidelity as dynamically lived across time and place, a fidelity paradoxically performed via various modes and tropes of adaptive infidelity.

[For an abstract in English, please see below]

Dopo una breve disamina che individua alcune linee concettuali considerate come l'origine della narrativa storica giapponese in epoca classica, l'articolo prende in esame la produzione storica di autori giapponesi noti negli ambienti letterari fra la fine dell'Ottocento e l'inizio del Novecento, alcuni dei quali considerati importanti teorici del romanzo moderno, o autori di fiction storica, quali Mori Ogai (1862-1922), Tsubouchi Shoyo (1859-1935), Yamada Bimyo (1868-1910).

The article offers a brief overview of the conceptual stances behind the conscious act of writing fiction based on historical materials in premodern Japan, before discussing to a fai rextent the theories and original pièces authored by important modern Japanese writers such as Mori Ogai, Tsubouchi Shoyo and Yaada Bimyo around the turn of the XIX century.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

http://sainsbury-institute.org/news-events/legislating-manga-workshop/

This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Literally named light or torch, The Tomoshibi captures a prevailing concept in contemporary Japan that establishes this culture of longing for a past, to retrace steps back to a more distant time in hopes of discovering the country’s roots, and reminiscing the days of old. In this small bar nostalgia permeates throughout, placing the patron in a trance of calmness; one where childhood dreams, fairy tales, and miracles abound. The Tomoshibi is almost invisible in the commercial district of Tokyo, yet its patrons and staff respect it and treat it like a sanctuary.

The following paper aims at describing and analysing the development of the relation between narrating voice and surrounding natural landscape in Akutagawa Ryūnosuke's literary output. Akutagawa himself declared in his Suicide Note "Aru kyūyū he Okuru Shuki" ("Letter to an Old Friend", 1927), when writing about his relationship with nature:  "More than anyone else, I have observed it, loved it and understood it". This profound change in the relation with Landscape took place due to an "Inversion of Semiotic Constellation", which, according to the analysis of Karatani Kōjin in his "Kindai Nihon Bungaku no Kigen" ("The origins of Modern Japanese Literature", 1980), occurred during the Meiji Period. The landscape thus acts as a means of transmission of concepts and as an epistemological feature that encourages a further reading of Akutagawa's Short Stories, and an analysis of the geographical and natural space depicted in them.

Histoire@Politique, Politique, culture, société (Revue scientifique du Centre d’histoire de Sciences Po), « Comptes rendus – ouvrages »,
http://www.histoire-politique.fr/index.php?numero=31&rub=comptes-rendus&item=627
Mis en ligne le 23 mai 2017

　文化庁の「平成１９年度国語に関する世論調査」で約４５％の回答者がマンガを若者言葉に影響をもたらすものとして挙げたように，絵と言葉からなるマンガは一種の言語的メディアと一般に認知されている。しかしながら，マンガ研究の多くは視覚的要素に焦点が置かれていることが多い。ここでは，通常関心の払われることの少ない言語的要素に焦点を定めたい。
　まず，今日一般的になっているマンガにおける文字情報の活用法は決して古くから定着したわけではない。竹内オサム（2005年）によると，現在一般的な文字テキストの多くはストーリー・マンガの発達と共に現れたものであり，ストーリーの時空間的な展開を表現をするのに重要な役割を演じている。また，Rommens（2000年）のように，文字を追わずにページだけを追っていくという読み方が，マンガの読み方として主流だとする主張が多いが，読者はまず文字情報を追う方が優先されるという主張もある。実際，読者に自分が目で何を追っているのかをマジックペンで記してもらうという実験的調査によれば殆ど全員がまず台詞を追っていることが分かった（Allen＆Ingulsrud：2009年）。
　さらに，読者が，マンガを言語的メディアとして受け止めていることも重要である（上の文化庁調査など）。本研究においては，マンガにおける言語の役割に焦点を当てることにより，マンガがメディアとしてどのように機能しているのか観察する。その第一歩として，発表者が作成したコーパスを活用し，基本的な文字テキストの統計を明らかにしながら，文字テキストの分類と分布を観察する。

Published on the fifth anniversary of the March 11, 2011 earthquake, tsunami, and Fukushima meltdown, this book explores the ways that many of Japan's most important poets have written about and represented the disasters in their work.  This book contains a study of the themes, functions, and issues in that literature as well as copious translations of the original poetry. 

"In a time that for many of us in Tokyo and beyond feels far removed from the events of March 11, 2011, when we are not sure how to retain and respect those moments and their aftermath, this collection does exactly that. Jeffrey Angles' smart, useful introduction and the poems in this collection help us find a language of grace, dignity and poignancy, not only to look back but also to look forward." --David H. Slater

Critical debate on Enchi Fumiko’s historical fiction Onnazaka (tr. The Waiting Years) has overlooked her text’s dialogue with transnational psychoanalysis and feminist reappropriations of its canonical parables. This paper examines Enchi’s engagement with the Oedipus myth of European psychoanalysis and the Ajaatas’atru/Ajase myth of Buddhism, which Japanese psychoanalyst Kosawa Heisaku used to formulate an alternative to the Oedipal paradigm. I argue that Enchi critiques both traditional and psychoanalytic readings of the Buddhist sutra as inherently anti-feminist. Although she acknowledges the moral and ideological power of the parables of Oedipus and Ajaatas’atru, she ultimately rejects both models of subjectivity within the family and forwards a new model of feminine subjectivity.

In Pursuit of Universalism is the first comprehensive, English-language study of early twentieth-century Japanese modern art. In this groundbreaking work, which is also the inaugural recipient of the Phillips Book Prize (awarded by the Phillips Collection Center for the Study of Modern Art), Alicia Volk constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugorô, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art. Volk places Yorozu at the forefront of a movement that sought to define Japanese art's role in the world by interrogating and ultimately refusing the opposition between East and West. Instead, she vividly demonstrates how Yorozu reframed modern art's dualistic underpinnings and transposed them into an inclusive and synthetic relation between the local and the universal. By looking closely at questions of cultural exchange within modern art, In Pursuit of Universalism offers a new and vital account of both Japanese and Euroamerican modernism. Volk's pioneering study builds bridges between the fields of modern and Asian art and takes its place at the forefront of the emerging global history of modern art.

Reviews:
“Masterfully written. . . . Alicia Volk embarks upon a fascinating journey to develop an alternative perspective for narrating the complexities of the Japanese art scene. . . . Volk’s stimulating book definitively illuminates a new horizon for the field of modern Asian art. . . . It is precisely what the discipline needs.”— Journal Of Oriental Studies

“Forceful and eloquent. . . . Volk masterfully unravels the knotty strands that coalesced to shape one individual artist’s perception of self and his work within existing academic, institutional, and professional structures. . . . [The] book deserves praise for being a substantially rigorous and provocative probe into the search for universalism in a differentiated world.”—International Journal Of Asian Studies

“Deserves to be read by all historians of modern art and East Asian culture.”—Journal Of Asian Studies

“An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research.”— Japanese Studies

“Excellent. . . . Exquisitely written.”—The Art Bulletin

"Written beautifully and compellingly... Volk has made an important contribution to the growing literature on alternative artistic modernisms." --The Journal of Japanese Studies

"In presenting readers with this most cogent argument for the emergence of Japanese modernism through the artistic engagement of one of its central players Volk has made a genuinely original contribution to the field."--New Zealand Journal of Asian Studies

"This is an... intellectually nourishing read, in which Volk's voluminous knowledge of art movements and discourse creates a text of commanding erudition."--The Japan Times

“Volk's impressive study rethinks the East-West binary often reiterated in discussions of Japanese modernism by reinserting local aspects into the universalizing tendencies of modernism itself. The book makes an important contribution to the growing literature on modern Japanese art history by providing an alternative comparative framework for understanding the global development of modernism that decenters Euro-America. Rigorously historical in her critique, Volk destabilizes our understanding of the Japanese experience of modernity through the prism of Yorozu's singular vision of the self, leaving us questioning conventional wisdom and contented to wobble.”—Gennifer Weisenfeld, Duke University

“In Volk's affectingly stunning and deeply reflective study of the Japanese artist Yorozu Tetsugorō's work between 1910-1930, we have a profoundly historical reminder of how modernism everywhere struggled to meet the demands of the new with the readymades of received artistic practices. In this study of Yorozu's utopian universalist project, Volk has imaginatively broadened our understanding of the modernist moment and perceptively captured its global program to unify art and life, contemporary culture and history.”—Harry Harootunian, author of Overcome by Modernity: History, Culture and Community in Interwar Japan

This paper presents a historical overview of the 'yakeato generation.' Commonly referred to as the generation of  those Japanese who have experienced the 'burnt-out ruins' of the Asia-Pacific conflict and the associated trauma - nowadays referred to as Post-traumatic stress disorder (PTSD). After investigating the occurrences of yakeato themes in contemporary Japanese literature a working definition of the yakeato generation is suggested and the paper will answer the question of whether the yakeato generation is still relevant in contemporary Japanese society. This historically pivotal Japanese generation will be analysed with general references to the criticism and literature of Oda Makoto, Nosaka Akiyuki, Oe Kenzaburo and Ishihara Shintaro.

In the late 1970s, Japanese women writers started to question the androcentric
conventions of sf and began transforming it through feminism-inspired works. One of
the early stars of this new generation, Suzuki Izumi, was the first to publish an sf novel
set in a single-gender world. In “Onna to onna no yononaka” [Women’s World, 1977],
however, the all-female world is not so much the locus of utopian hope—as, for
example, Whileaway in Joanna Russ’s The Female Man (1975)—but rather the object
of ambivalent disidentification. This is also true for the all-female worlds in Kurahashi
Yumiko’s Amanon koku ôkanki [Records of a Voyage to Amanon, 1986] and Shôno
Yoriko’s Suishônai seido [The World Within the Crystal, 2003]. Situating these texts
within the context of modern Japan, feminist/queer theory, and sf, I demonstrate in this
essay that, while these texts are feminist negotiations of sexism and patriarchy, their
ambivalence towards all-female worlds also bespeaks a systemic problem within the
feminist discourses they reference. That is, it cannot just be read as an expression of
doubt about the political potential of separatism or gender essentialism, but must also
be understood as an effect of heteronormativity—the marginalization of lesbian voices
within feminism in Japan. This is not a distinctly Japanese issue, however, as I will
show at the end of my discussion.

"Bleach" is a manga best-selling in the US and Japan in the early 2000s, published by Shuesha in its weekly "Shonen Jump" imprint; however, in America the "first arc" ("Soul Society Arc") of the story was received to great success, with the "second" ("Arrancar") and "third" ("Hueco Mundo") "arcs" meeting with great derision as "filler material" and plot-recycling.  However, I posit that much of this is due to cultural barriers, as the latter two arcs rely heavily on esoteric Buddhist symbology such as Aizen Myo-o and wish-fulfilling jewels, which were set up in the first arc. 

As such, this paper sets out to show that Buddhist imagery is in "Bleach" and is inherent to literary assessment of the story's value as a whole.  It shows that, in "Bleach," seeking spiritual transcendence drives character development, plot, and setting; that the Buddhist Wheel of Life best explains “powering-up” of characters to higher spiritual and physical planes of being; and that the story’s action and resolution depend on a wish-fulfilling jewel, with several characters rooted in such Buddhist archetypes as nagas (dragon deities), the Wisdom King Aizen Myô-ô, and the Sâkyamuni Buddha.

The thesis also gives many opportunities for further study, such as with the depictions (illustrations and narrative) of women's bodies both in the religious context and modern popular (boys') manga context; the use of religious epics as a means to success in "Shonen Jump's" most popular boys' manga in the US and Japan from 2001 - 2005; and a possible shift away from "necessary" tragic endings (that signal and uphold values of cultural uniformity) towards "happy endings" (that signal cultural acceptance of personal identity singularity) in Japanese manga, among younger creators and consumers.